Having established that Rimbaud's poetry seeks to return to simpler times of the feudal servant, we can turn to the question of medieval seriousness that Rabelais set against degradation (Bakhtin, 174), without forgetting that while the poetry of Rimbaud administers hallucinations to the reader, these do not allow an element of the grotesque found in the everyday life and labor of the peasant, and therefore simplify the marketplace and the space of labor or, what these amount to, namely, the commercial sites of production. Rimbaud formulates a synesthetic space of hallucinations in his Delirium II: Alchemy of the Word, where vowels evoke, or more nearly consist of, colors:

I invented the color of the vowels--A black,
E white, I red, O blue, U green... I
flattered myself on devising a poetic
language accessible, one day or another, to
all the senses(Rimbaud, 77).

Here the desire is to establish a system of worship of the medieval sophistication of natural categories, so that the author embodies a cult of perversion’Äîwhether or not when one enunciates another senses color (the distortion of a natural sensorium) and the perversion of reasonable expectations of the employment of this 'alternative' mode of characterizing perception. ' One day or another,' the author feels his hallucinatory method will be canonized, if not immediately seen for its intrinsic worth as ascribed by him, a method resorting to the space of poetry to explain what psychology and biology now present through much clearer pictures, the foundations of misperception and hallucination, hallucination that in Rimbaud is given to adventitiousness while curiously being staged for poetic effect:

I saw very plainly a mosque in place
of a factory, a school of drummers
composed of angels... a drawing room
at the bottom of a lake.

Rimbaud here sees fortuity in misperception, though not fortuity in empirical investigation which creates a path to scientific discovery, or in the leap of imagination when an author must redesign a selection of words, but a fortuity of the failure of cognition (to divert the enchantments collected in my brain[Rimbaud, 89]). Necessarily this is a return to medieval mysticism and a return to the more simple feudal system.
It is no accident that Rimbaud's Delirium is also filled with images of peasant life and the space of medievalism, that Rimbaud sees his synesthetic method as an extension of the medieval process of thought (while one observes that his method does not account for complexity in the marketplace with elements of the grotesque articulated by Rabelais and outlined by Bakhtin). The first indications of the space of feudalism are aspects of an alchemy, a medieval practice which was attached to the needs of the period: with health, medieval alchemists looked for a universal cure to disease, and with wealth, if only to provide treatment, medieval alchemists searched for ways to turn base metals into gold. As gold would become valueless when any metal assumed the form of this expensive commodity given the sheer volume of base metals, and as immortality would imbalance the population and its restrictions for the time, Rimbaud's poetry is extremely short-sighted, as it argues that man should return to his (Rimbaud's) conception of medieval thought, as an alchemy of language.

Alchemy has a peculiar relationship to the social evolution of medievalism, in that its practice stems from concerns related to this social evolution, the well being of the society, yet Rimbaud's use of language suggests an enlargement of extemporaneous forms of production disassociated from the social evolution of the time. This is in keeping with other forms of mysticism of the period but is free of the dose of reality lent by various forms of degradation aimed at medieval seriousness: Rabelais' Panurge, terrorized by mystic fantasies as he sat in a dark storeroom, mistook the cat for the devil and began to defecate (Bakhtin, 173). Here the austere-constitution of a medieval personage fails to be read into the site of the Rabelaisian marketplace, for it is the site of mystical production based upon an anachronism. Again, the fortuity in Rimbaud, which is unlike that found in novel creation and scientific discovery, has no historical foundation:

Devour the flintstones crushed to bits,
The ancient stones of churches;
the cobbles left by old-time floods
Loaves scattered in gray valleys (Rimbaud, 85).

The failure of cognition pervades this segment of poetry, plus a romanticism of the medieval where the components of architectural space are fetishized, are given an enchantment through marginal description ('the cobbles'), putting an emphasis upon Christian governing forces in the European world without the elements of the teratic. Given an exegesis of biblical texts in the middle ages, the remnants of architectural space which can be identified as simply old are equated to the imagery of the old testament in a mawkish manner that aims to insert medieval cognition into 19th Century modes of production. This return to the feudal spirit, through symbolist form, does at times suggest the historic setting of the marketplace:

O Queen of Shepherds
Bear brandy to the laborers,
So that their strength may be at peace
Until the dip at midday in the sea.(ibid, 81)

Yet, this segment is devoid of the plague of diarrhea and the defecation which is subsequent to the ingestion of food, or is devoid of the lowly language found in the 'Cris' of Paris (Bakhtin, 182). The intrinsic value of the language in the genesis of literary form in Rabelais time is considerable according to Bakhtin, presenting a juxtaposition of language uses, the symbolist to the Rabelaisian, where the former does not understand the importance of the latter. This language use by Rimbaud does not anticipate the Rabelaisian language, as it is a hallucinatory language, whereas the language of Rabelais takes into account the prospectus of exchange down to the peasant's bodily functions...